tv commercials how to make them or how big is the boat

TV Commercials: How to Make Them or How Big Is the Boat? Ivan Cury ELSEVIER TV Commercials TV Commercials How to Make Them or How Big Is the Boat? Ivan Cury AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford, OX2 8DP, UK Copyright © 2005, Elsevier Inc All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, e-mail: permissions@elsevier.com.uk You may also complete your request on-line via the Elsevier homepage (http://elsevier.com) by selecting “Customer Support” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloging-in-Publication Data A catalogue record for this book is available from the British Library ISBN: 0-240-80592-5 For information on all Focal Press publications visit our website at www.focalpress.com 04 05 06 07 08 09 10 Printed in the United States of America Dedicated to teachers To those who particularly influenced me: To my father and mother, Joel and Anne, and my sister, Marilyn To Mrs Coveny—3rd grade Mrs O’Reilly—5th grade Mrs Birnbaum—6th grade Mrs Lavy and Mme Kallir—high school To Bob Novak, Charlie Irving, and Don Knotts—The B-B riders To Bill Ball, Alan Fletcher, Charlie Moore, and Edith Skinner—Carnegie-Mellon Ed Thomen, Ted Kazinoff, and Sam Hirsh—Boston University To Kit Lucas, Ellis Haizlip, and Lee Polk—WNET-NY To Jordan Morganstein—Marshall Jordan Associates To George Zimmer and Richard Goldman—The Men’s Wearhouse To my children; James, Joanna, Peter, and Alex, and to their mothers, Lynda and Barbara Contents Preface xi Chapter Introduction Chapter Client How to Proceed Choices Producing the Spot Low Budget: Up to $25,000 Midbudget: $25,000 to $250,000 Shooting Begins Production Postproduction High Budget: Over $250,000 Chapter 11 12 16 17 19 23 24 24 25 Agency 31 Getting Considered Defining the Client’s Needs Finding a Strategy Research Creating the Commercial Once the Account Is “In House” Scheduling Choosing a Production Company Casting Props Audio At the Shoot Names and Codes Edit Session Offline/Online Final Details Chapter 33 35 36 39 41 45 47 47 49 50 50 51 53 54 56 57 Preproduction 59 Low-Budget Production Medium- and High-Budget Commercials Bid Template Once the Bid Is Accepted The Go-Ahead 60 65 67 72 74 vii viii Chapter TV Commercials: How to Make Them Production 75 Low Budget 76 Medium- and High-Budget Shoots 78 Shot Procedure 78 Multiple-Camera Shoots 82 Keeping a Log 82 Extra Shots and Wrapping Up 83 Director’s Business 84 Shoot Basics 85 DP 88 Film/Tape 88 Magazines 89 Body 89 Head 89 Tripod/Dolly/Crane 90 Lenses 90 Instruments 92 Light Box 93 Grips 94 C-stands 94 Grip Gear 96 At the Sweep Table Shoot 97 Props 97 Food 100 Medium Budget: Location Shoot 101 Storyboard 101 Schedule 102 Setting 103 DP 104 Audio 104 Gaffer/Key Grip 105 Set/Props 105 High Budget: Musical 106 Storyboard 107 Schedule 107 Setting 111 Audio 112 Set and Props 112 Makeup 112 Costumes 113 Chapter Postproduction: Editing 115 Timeline 116 Current Practices 120 Editing Work Styles 121 Useful Forms and Reference Material Figure 10.5 221 Continued End Piece I found the following while working on some forgotten project from the distant past Nothing seems to have changed: A Producer’s Alphabetic Guide to 50 Commonly Used Advertising Agency Phrases Are we going to see that cross on the film? But it tested so well Can she hold it closer to her face? Can they make her look more French? Can we have wine with lunch? Can we make the product look larger? Can we pause on the bite? Can we shoot it both ways? Do we really have to come at  tomorrow? 10 Do you need us anymore? 222 TV Commercials: How to Make Them 11 Don’t they have chairs for us? 12 He doesn’t care what it costs; he’s not going to pay for it 13 How they expect us to get to the location? 14 How we get to the hotel? 15 I don’t like what she’s wearing 16 I don’t think the camera is level 17 I don’t think we should bring it up 18 I have to have coffee Now! 19 I hope we’re not having Italian We had Italian yesterday 20 I liked it better in the animatic 21 I’m not talking to that asshole anymore 22 Is the video guy asleep? 23 Is this the same guy we cast? 24 It smells like something’s on fire 25 It worked fine in the kitchen test 26 It’s not in the board 27 Nobody told me 28 She did it in casting 29 That’s all they is drive trucks? 30 That’s not what we discussed in the prepro 31 That’s not what we wanted 32 That’s not the copy 33 The client is very sensitive about that 34 The drinks are great, but tomorrow can you serve the client’s product instead? 35 The map is wrong! 36 This is not the original concept 37 What about the alternative? 38 What am I looking at? 39 What happened to frame 3? 40 What happens if it rains? 41 What’s the best restaurant? 42 We’re not supposed to park there 43 When is lunch? 44 Where’s my Evian? 45 When you’re lit, the client would like to look through the lens 46 Which line is TV safety? Useful Forms and Reference Material 47 48 49 50 Which one is the eyepiece? Who has the final copy? Why isn’t he eating it? Why isn’t she smiling? Please contact me at Focal Press with some of your own gems Ivan Cury Focal Press Elsevier 30 Corporate Drive Burlington, MA 01803 www.elsevier.com 223 Bibliography Bedbury, Scott (with Stephen Fenichell) A New Brand World Penguin Books, 2002 Brown, Blain Cinematography: Theory and Practice Focal Press, 2002 Carter, Paul Backstage Handbook Broadway Press, 1994 Cury, Ivan Directing and Producing for Television: A Format Approach Focal Press, 2nd Ed., 2002 Della Femina, Jerry (edited by Charles Sopkin) From Those Wonderful Folks Who Gave You Pearl Harbor Simon & Schuster, 1970 Directors Guild of America and The Association of Independent Commercial Producers National Commercial Agreement, 2001 Donald, Ralph and Spann, Thomas Television Production Iowa State University Press, 2000 Elin, Larry and Lapides, Alan Designing and Producing the Television Commercial Pearson, 2004 Fauer, Jon DVCAM Focal Press, 2001 GMM Creative Industry Handbook Author Hampe, Barry Making Videos for Money Henry Holt and Company, LLC, Owl Books, 1998 Hemela, Deborah Ann Debbies Book 18th Edition July 2003–2004: The Source Book for Entertainment Pros 2003 Hornung, Clarence P Handbook of Early Advertising Art Dover Publications, Inc., 3rd Ed., 1956 Levenson, Bob Bill Bernbach’s Book Villard Books, 1987 Lone Eagle Publishing Company Hollywood Creative Directory Lone Eagle Publishing Company Representation Directory Lone Eagle Publishing Company Distributors Directory Lone Eagle Publishing Company Music Directory Lone Eagle Publishing Company Blu-Book Production Directory Motion Picture Enterprises, Inc Motion Picture TV and Theatre Directory New York Production Corp Producers Masterguide Ogilvy, David Confession of An Advertising Man Dell Publishing Co Inc., 1963 Ogilvy, David Ogilvy On Advertising Vintage Press, 1985 Roberts, Jerry “Joe Pytka King of the (Commercial) World!” DGA Magazine, Fall 2002 Roman, Kenneth and Jane Maas The New How To Advertise St Martin’s Press, 1992 Sacharow, Stanley Symbols of Trade Art Direction Book Co., 1982 Schreibman, Myrl The Indie Producer’s Handbook: Creative Producing from A to Z Lone Eagle Publishing, LLC, 2001 225 226 TV Commercials: How to Make Them Schihl, Robert J Television Commercial Processes and Procedures Focal Press, 1991 Singleton, Ralph S Film Budgeting Lone Eagle Publishing Co., 1996 Singleton, Ralph S Film Scheduling or How Long Will It Take To Shoot Your Movie Lone Eagle Publishing Co., 2nd Ed., 1992 Surf Producers LLC, Hollywood-911 Hollywood 911 Whittaker, Ron Television Production Mayfield Publishing Co., 1992 Zettl, Herbert Television Production Handbook Wadsworth Publishing Co Inc., 5th Ed., 1992 Zettl, Herbert Video Basics Wadsworth, 2004 Index AAAA See American Association of Advertising Agencies Account sources, 33–34 Ad-ID system, 54 Advertising history, 4–8 AFTRA See American Federation of Radio and Television Artists Agencies and agency producers, 31 account sources for, 33–35 for audio, 50–51 campaigns by, 45–47 casting by, 49 for creating commercials, 41–45 for defining client needs, 35–36 in editing, 116 for graphics, 140 history of, 4–7 names and codes, 53–54 offline/online modes of operation, 56 production company selection by, 47–49 prop responsibility of, 50 purpose of, 32 research by, 39–41 roles of, 46–47 scheduling by, 47, 52 session editing by, 54–55 at shoots, 51–53 strategy determination for, 36–39 Agents in preproduction, 66 talent, 162 AICE See Association of Independent Creative Editors AICP See Association of Independent Commercial Producers, Film Production Summary by Airing decisions, 62 American Association of Advertising Agencies (AAAA), 175, 219 American Federation of Radio and Television Artists (AFTRA), 161 Animal handlers, 162–163 Animals, 162 Animation staff for, 166–167 types of, 141–144 Announcers client approval of, 15 in strategy, 38 APs See Agencies and agency producers Area off-sets, 103 Arranging shots, 77 Art directors, 163–164 Assistant camera operators, 111 Assistant directors, 155–156 Assistant producers, 155 Assistants in musicals, 113 Associate directors, 156 Associate producers, 155 Association of Independent Commercial Producers (AICP), Film Production Summary by, 68 Association of Independent Creative Editors (AICE), 68 Associations, 175–177 Audiences, defining, Audio, 129 agencies for, 50–51 dialogue, 134–135 in location shoots, 104 mixed, 15, 135–136 music, 131–133 in musicals, 112 post sound, 135 in preproduction, 73, 130 sound effects, 133–134 staff for, 160–161 synchronizing, 117–118 voice-overs, 130–131 Audio playback operators, 161 Audio tape, 117 227 228 Barn doors, 96 Basic Craft #40 International Brotherhood of Electrical Workers, 178 Basic Craft #78 Plumbers & Pipefitters, 179 Basic Crafts #399 Teamsters Transportation Drivers, 180 Basic Crafts Local #724 Studio Utility Employees, 187–188 Basic Crafts Local #755 Sculpturers and Plasterers, 188–189 Berkeley, Busby, 106 Berle, Milton, Bernbach, Bill, 46 BetaSP format, 125–127 Bidding process, 47–49 bid documents, 195–213 forms for, 216–219 in preproduction, 66 templates for, 67–71 Black art cards, 137 Blacks, 96 Boards and creativity, 48 in location shoots, 101 in musicals, 107 in preproduction, 67 videotape for, 151 Bodies, cameras, 89 Boom operators, 160–161 Brainstorming sessions, 41–42 Budgets, 10–11, 29 C-stands, 94 Camera operators, 158 functions of, 159–160 in musicals, 111 Cameras bodies, 89 history of, 75 transporting, 171 Campaigns, 45–47 Canadian Broadcasting Company’s (CBC) archive, 176 Cartier-Bresson, Henri, 75 Cartoons, 141–142 TV Commercials: How to Make Them Casting by agencies, 49 Casting directors, 162 Casts in bid templates, 70 in musicals, 107 in proposals, 23 Categories of commercials, 42 Cel character animation, 142 Century stands, 94 CEO stand-up shots, 85 Chance in obtaining accounts, 33–34 Changes, reviewing, 15 Changing opinions, strategies for, 38 Character category, 42 Chiat-Day agency, 39 Children, 162 Choices, client, 12–16 Chyron system, 138 Clients choices, 12–16 defining needs of, 35–36 in editing, 115 goals of, 9–11 for graphics, 139 high budget, 25–29 knowledge about, 20–21 low budget, 17–19 midbudget, 19–23 production by, props provided by, 15–16 questions from, 20 responsibilities of, 27–29 special circumstances, 11–12 in spot production, 16–17 Codes, 53–54 Colgate Comedy Hour, Color process in editing, 126 Comedy category, 42 Computer animation, 142 Consultants, referrals from, 34 Contracts, 12–13 Control tracks, 117 Cookies, 96 Costs APs for, 52–53 229 Index in bid templates, 68–70 client and producer responsibility for, 28 in goals, 10 payment methods for, 74 in preproduction, 63–64 in proposals, 22–23 Costume designers, 165 Costumes in musicals, 113 Cranes, 90 Creating awareness, strategies for, 38 Creativity in proposals, 21 Crews in bid templates, 70 in musicals, 111–112 production, 166 Criteria in proposals, 21 Cue tracks, 117 Current editing practices, 120–121 Cycloramas, 108 Data transfer, 126 Demonstrations category, 42 Designers, 163–164 Dialogue, 134–135 Digital shoots, 119–120, 159 Directors functions of, 84, 154 for low-budget preproduction, 61–62 for medium- and high-budget preproduction, 65–66 selecting, 48 Directors of photography in location shoots, 104 in production, 88–94 roles of, 159 Dollies, 90–91 Down payments, 74 Drake, O Burtch, 54 Drivers, 171–172 Edit decision lists (EDLs), 24, 54–56, 119 Editec, 118 Editing client/producer responsibility for, 29 in low-budget preproduction, 65 major elements in, 17 in medium- and high-budget preproduction, 66 postproduction See Postproduction editing Editors, 116 EDLs See Edit decision lists Edsel automobile, 145–146 Electricians in location shoots, 105 in musicals, 111–112 transportation for, 171 Electronic Engineering Company of California (EECO) system, 119 Elgin Hour, Engineering staff, 160 Entertainet Cyberspace Directory, 176 Executives, contributions by, 46 Expendables, 96 Explosive experts, 167 Extra production shots, 83–84 Facilities preproduction requirements for, 72 renting, 170 Fact checking responsibility, 28 Fast cuts, 38 Film commercials SAG agreements for, 161 staff for, 159 vs tape, 88–89 Film Production Summary, 68 FILMEX, First assistant camera operators, 159 First electronic tape editors, 118 First marks, 78–79 Flags, 96 Flash to flash negatives, 126 Flats, 97 Floor managers, 156 Fluid heads, 89 Food in ads, 100 on sets, 168 Ford Theatre, 230 Formatted type, 138 Forms, 175 Four panel layouts, 36–37 Full service agencies, Furness, Betty, Gaffers in location shoots, 105 in musicals, 111–112 Gas and oil, transportation for, 171 Geared heads, 90 Generator operators, 167 Generators, transportation for, 171 Go-ahead decision in preproduction, 74 Goals, client, 9–11, 26 Gobos, 97 Goldman, Richard, 151 Graphics agency responsibilities for, 140 client responsibilities for, 139–140 history of, 136–138 producer responsibilities for, 141 staff for, 167 tools for, 138–139 Greenspeople, 167 Grips equipment for, 94–97 functions of, 166 in location shoots, 105 in musicals, 112 transportation for, 171 Guilds, 175–177 Haikara, Jason, 152 Hair designers, 165 Hallmark Hall of Fame productions, Hardware for editing, 56–57 Hartman Center, 176 Heads, camera, 89–90 Helically scanned tapes, 118 Hero products, 100 Hertz commercials, High-budget clients, 25–29 High budgets editing in, 122–125 TV Commercials: How to Make Them musicals, 106–113 preproduction, 65–67 production, 78 History of advertising, 4–8 Home economists, 168 Honey-wagons, 171 Horton, Jack, 81 Industry Standard Coding Identification (ISCI), 53–54 Inexperienced help, 70 Instruments for lighting, 92–93 Insurance, 168 Internal information, templates for, 40 International Alliance of Theatrical Stage Employees (IATSE), 177 IATSE Local #33 Theatrical and TV Stage Employees, 177–178 IATSE Local #44 Affiliated Property Crafts Persons, 178–179 IATSE Local #80 Motion Picture Studio Grips, 179–180 IATSE Local #595 International Sound/Cine-Technicians, 183–184 IATSE Local #683 Film Technicians of Motion Picture Industry, 181–183 IATSE Local #700 Motion Picture Editors, 184–185 IATSE Local #700 Motion Picture Editors Guild, 185–186 IATSE Local #705 Motion Picture Costumers, 186–187 IATSE Local #706 Make-Up Artists & Hair Stylists, 187 IATSE Local #728 Studio Electric Lighting Techs, 188 IATSE Local #729 Motion Picture Set Painters, 188 IATSE Local #767 Motion Picture Studio First Aid, 189 IATSE Local #790 Illustrators & Matte Artists, 189 IATSE Local #816 Scenic, Title & Graphic Artists, 189–190 IATSE Local #839 Motion Picture Screen Cartoonists, 190 231 Index IATSE Local #847 Set Designers & Model Makers, 190 IATSE Local #871 Script Supervisors, 190 IATSE Local #876 Art Directors Guild, 191 IATSE Local #884 Teachers, 191 IATSE Local #892 Costume Designers Guild, 191 Internet sites, 175–177 Interviews in research, 149 ISCI See Industry Standard Coding Identification J Walter Thompson Co., Jackie Gleason Show, Job Hunting, 192–194 Key grips in location shoots, 105 in musicals, 112 Kinescope films, 117 Krone, Helmut, 46 Kudner Agency, Laboratories, 168 Legal matters client and producer responsibility for, 28 in editing, 124 in preproduction, 63–64, 73 in proposals, 21 Lenses, 90 Libraries music, 132–133 reels, 47 Light boxes, 93 Lighting instruments for, 92–93 in musicals, 111–112 in production, 77 in shot procedures, 80 Listening fees, 133 Loaders in musicals, 111 Location permit checklists, 214–215 Location scouts, 157 Location shoots, 101–106 Locations decisions for, 62–63 requirements for, 72 Logos, Logs payroll, 206 petty cash, 209 for production, 82–83 purchase order, 203 sales, 202 Low-budget clients, 17–19 Low budgets editing, 121–122 preproduction, 60–65 production, 76–78 Magazines, 89 Main production staff, 154–160 Makeup artists functions of, 164 in musicals, 112–113 Management in proposals, 21 Management services, 169 Marks, 78–81 Martial arts specialists, 169 MAXLIGHTs, 95 McDonald’s, 31 Meara, Anne, Media in preproduction, 63 in proposals, 21 Medium budgets editing, 122–125 location shoots, 101–106 preproduction, 65–67 production, 78 Men’s Wearhouse, client and producer jobs in, 28 research questions by, 220–221 strategies by, 43 Merchandise, responsibility for, 28 Mic handlers, 160–161 Midbudget clients, 19–23 postproduction for, 24–25 production for, 24 shooting process for, 23 232 Milton Berle Show, Miniatures, 142, 169 Minus Optical Sound (MOS), 86 Mixed audio client approval of, 15 elements in, 135–136 Montages, 17 MOS See Minus Optical Sound Multiple-camera shoots, 82 Music, 50 client approval of, 15 creating, 131–132 specialists for, 169–173 stock libraries, 132–133 Musicals, 106 audio for, 112 casts in, 107 costumes for, 113 makeup artists for, 112–113 props for, 112 schedules for, 107–111 settings for, 111–112 storyboards for, 107 Names and codes, 53–54 Nathan’s Famous campaign, 44 Needs, defining, 9–10 Nets, 97 Nothing In Common film, 41 Off camera transportation, 171–172 Offline/online modes of operation, 56 Ogilvy, David, 42 Old Gold cigarettes campaign, On camera transportation, 171 One light video dailies, 125 Opening marks, 79 Operational expenses in bid templates, 71 in proposals, 23 Overdub studios, 135 Payment methods, 74 Payroll logs, 206 TV Commercials: How to Make Them Personnel in low-budget preproduction, 62 preproduction requirements for, 72 Petty cash logs, 209 Philco Presents, Photographers, 170 Pixelation, 142 Post sound, 135 Postproduction, 59 animation, 141–144 audio See Audio client and producer responsibility for, 29 client needs in, 16 graphics, 136–141 low budget, 63 for midbudget clients, 24–25 Postproduction editing, 115 current practices, 120–121 low budget, 121–122 middle and high budget, 122–125 process of, 125–127 timelines in, 116–120 work styles in, 121 Preproduction, 59 audio, 130 bid templates for, 67–71 go-ahead decision in, 74 low budget, 60–65 medium and high budget, 65–67 shooting requirements, 72–73 Printed ads, history of, Problem solving category, 42 Producers for graphics, 141 for preproduction, 61–62 types of, 154–155 Product shots, 85 Production, 59, 75 clients in, 16–17 directors in, 84 DP roles in, 88–94 extra shots and wrapping in, 83–84 grip roles in, 94–97 logs for, 82–83 233 Index low budget, 63, 76–78 medium and high budget, 78 for midbudget clients, 24 multiple-camera shoots, 82 overview, 1–2 questions addressed in, 2–3 shoot basics in, 85–88 shot procedures in, 78–82 specifications and estimate form for, 210 Production company selection, 47–49 Production crews, 166 Production labels, 83 Production managers, 158 Props APs for, 50 client-provided, 15–16 in location shoots, 105 in musicals, 112 rentals, 164 at sweep tables, 97–99 Purchase order logs, 203 Qualitative analysis, 148–149 Quantitative analysis, 148–149 Questions in pre-production, 15–16 in production, 2–3 in research, 148 Radio, history of, Realism in goals, 9–10 Reasons category, 42 Recordists, 160 Redefining issues, 35–36 Reeves, Rosser, 41 Reference material, 175–191 Reflectors, 97 Rentals of facilities, 164, 170 preproduction requirements for, 72–73 Research, 145–147 by agencies, 39–41 kinds of, 148–150 by Men’s Wearhouse, 220–221 in proposals, 21 purpose of, 147 results of, 150–152 Robert Hall clothiers, 35–36 Rotoscoping, 143 SAG See Screen Actors Guild Sales logs, 202 Sample bid documents, 192–209 Sample research questions, 192 Saturn cars, 147 Scenic elements, client-provided, 15–16 Schedules by agencies, 47 APs for, 52 for musicals, 107–111 preproduction, 63 production, 76, 88 for shoots, 15, 102 Schlesinger, Debbie, 147 Screen Actors Guild (SAG), 161 Scrim material, 97 Script supervisors, 158 Sculptural animation, 142 Second assistant cameras operators in musicals, 111 purpose of, 160 Second assistant directors, 156 Security, 172 Selden, Rita, 46 Selling strategies, 38 Session editing, 54–55 Set designers, 163 Settings in location shoots, 103–105 in musicals, 111–112 in production, 76 Shakey-cams, 75–76 Shoots agencies at, 51–53 for midbudget clients, 23 multiple-camera, 82 procedures, 78–82 in production, 76–77, 85–88 234 Signs, history of, Slice of life category, 42 Smirnoff ’s Vodka ad, 85 Smoke editing system, 127 Society of Motion Picture Television Engineers (SMPTE) time codes, 54, 119–120 Software for editing, 56–57 Solicitations for new accounts, 34 Sound See Audio Sound effects, 50 considerations for, 133–134 specialists for, 169–173 Special circumstances, 11–12 Special effects designers, 165–166 Specialists, 7, 153–154 audio, 160–161 costumes, 165 designers and art directors, 163–164 engineering, 160 hair designers, 165 main production staff, 154–160 makeup, 164 music and sound effects, 169–173 production crew members, 166–169 prop rentals, 164 special effects designers, 165–166 talent, 161–162 Specialized gear in bid templates, 71 in proposals, 23 Specificity in goals, Spring tension heads, 89 Stage managers, 156 Stagehands, 166 Stand-up announcements, 38 Standard commercial production agreements, 210–211 Still photographers, 170 Stiller, Jerry, Stock libraries music, 132–133 reels, 47 Stop motion photography, 142–143 Storyboards and creativity, 48 TV Commercials: How to Make Them in location shoots, 101 in musicals, 107 in preproduction, 67 videotape for, 151 Strategy determination, 36–39 Students, 217 Studio supervisors, 158 Stuffing, 14 Stunt Work, 172 Superlatives, avoiding, 12 Sweep tables, 97–101 Sylvester, Tom, 40, 150 Synchronizing audio and video, 117–118 Tagging sessions, 120 Take Five series, Takes in production, 77 Talent, 161–162 client approval of, 15 in preproduction, 62 specifications for, 211 Talent agents, 162 Talking heads category, 42 Tape analog vs digital, 159 history of, 117 for storyboards, 151 Teachers, 172–173 Technocrane operators, 111 Telecine transfer units, 126 Teleprompter operators, 170 Television, history of, Templates for bids, 67–71 for preproduction, 61 for strategy, 40–41 Testimonials category, 42 Testing in research, 146–148 Texaco ads, 5–6 Three-point lighting, 77 Time in bid templates, 71 in proposals, 23 Time codes, 54, 119–120 Time-lapse photography, 142 235 Index Timelines, 116–120 TOPBOX units, 93–94 Transportation specialists, 171–172 Travel, 76–77 Tripods, 75, 90 Type, formatted, 138 U-Matic systems, 119 U.S Steel Hour, Underwater products, 50 Unions, 175–177 Unique selling proposition, 41 Unit managers, 156–157 University of Texas at Austin, 177 Unspoken agendas, 52 VHS systems, 119 Video taps, 51, 100 Videotape vs digital, 159 history of, 117 for storyboards, 151 Voice-overs, 130–131 Voice tracks, 50 Volkswagen campaign, 46 Von Stroheim, Eric, 192 Wardrobe crew, 165 Wardrobes in musicals, 113 Water, 172 Wilson, Greg, 14 Work styles in editing, 121 World’s Cheapest Man campaign, 43 Wrapup in production, 76, 83–84 Zimmer, George, 43 .. .TV Commercials: How to Make Them or How Big Is the Boat? Ivan Cury ELSEVIER TV Commercials TV Commercials How to Make Them or How Big Is the Boat? Ivan Cury AMSTERDAM • BOSTON • HEIDELBERG... that makes the program Hallmark then runs ads for itself TV Commercials: How to Make Them within the program, and the station sells time leading into and out of the production The network is pleased... “what’s the best match between client and agency,” is the real question 20 TV Commercials: How to Make Them Let’s start by saying there is no correct way to find an agency, nor is there a correct